Demo of Chromatic Scales (di BSG 2018)

1 part2 pages01:175 months ago107 views
Asked-for typical harmonzation patterns of chromatic scales. See Sweelinck Chromatic Fantasy, Bach Canzona BWV 588, hundreds of works.

O sorte feroce #3 (machine composition from machine-learned Bach)

1 part1 page02:026 months ago91 views
Composed by my computer program. See . The bass patterns were chosen probabilistically by the frequencies/weights shown in that score. Between measures, the "likely next note" after each pattern learned from the Bach scores is used as the starting note of the next pattern, and latter rejected and re-chosen if it goes "out of range" (C2 to F4).

Obviously, no attempt is made here for chromatic adjustment; I'm not sure where the boundary lies for coding such as "fair" as opposed to machine-learning it.

Needless to say, the area of machine-learned composition is already venerable; I specifically cite the work of David Cope, with which I was happy to be involved as a critic in 1997.

R.J. Bailey: Fugue in E minor (torso) (corr. by BSG, 11/2018)

1 part2 pages016 months ago76 views
Asked-for corrections to , I was really impressed with Robert Bailey's fugue there—the rhetoric, the chromaticism, the subject, the depth ... but the counterpoint, although quite impressive, could stand improvement. So I gave him some pointers/lessons there, and fixed up the 28 measures he had, to his great delight.

Computer analysis of Bach diatonic walking-bass patterns

1 part3 pages04:106 months ago247 views
PLEASE CLICK "Show More" below. I wrote code to assay the 4/4 patterns of Bach walking eighth-note basses from (right now) seven favorite movements featuring such, and present them sorted downward by number of occurrences, showing the percent of each and the cumulative percent at each point. As you can see, six patterns comprise one-half the instances found. The idea here is to learn what kinds of shapes are popular or "good".

Note that the starting note of each pattern is insignifcant (chosen to make the four fit nicely); only the DIATONIC (flats and sharps ignored, which is actually more appropriate than you might first guess) intervals between the notes are relevant.

The legends under each quadruplet are explained as so:

12/565 = 2.1% 659m17
Means "Out of 565 bass quadruplets examined, 12 were of the exact shape of the notes above, and that constitutes 2.1 percent of the 565. An example can be found at measure 17 of BWV 659." The second line of each quadruplet gives the numbers for this "and all previous" added up ("to here").

MusicXML was used both to access the MuseScore scores and create the score you are looking at; the code is in Python.

J.S. Bach: Nun komm’, der Heiden Heiland (BWV 659) (on Hauptwerk/Sonus Doesburg)

4 parts2 pages03:556 months ago169 views
Oboe, Viola, Cello, Contrabass
The haunting melismatic prelude on Luther's Advent tune, with its moody, mystical walking bass under left-hand canonettes and a supremely-ornamented solo. This iconic setting owes to Buxtehude's earlier setting, especially in its Chopinesque coda run.

While the hymn expresses quiet joy anticipating the Advent of the Saviour, this setting is yet dark and mystical. The sombre opening three measures are (look closely!) a canon at the fifth on the opening phrase of the chorale over a seemingly ordinary "walking bass", but the skill with which these elements were chosen and joined reveals its genius.

It is easy to play if you can read the alto clef (as in the Peters edition — this is the "poster child" for why alto clef is great). As a youth, I had to learn to read it just to play this, the first long Bach chorale prelude I could. Beginning organist, you can do the same!

The default audio is recorded by Hauptwerk on the Sonus Paradisi imaging of the Walcker organ at Doesburg, Holland.

II: Orchester Oboe 8, Cello 8, Nazard 2-2/3, Piccolo 2
I: Viola da Gamba 8
Pedal: Prinzipalbass 16, Oktavbass 8

The native MuseScore audio source with 2 viole for the left-hand is actually very beautiful (IMO), too.

Mozart: Larghetto, from Clarinet Quintet in A (“Stadler”) K 581

5 parts14 pages04:406 months ago342 views
Clarinet, Violin(2), Viola, Cello
The exquisite Larghetto from Mozart's famed clarinet quintet, dedicated to clarinettist Anton Stadler. A beloved Mozart gem, it is suffused with ineffable, ineluctable, irresistible grace and pathos.

In this small Sonata-Allegro form, the string parts more or less play continuo (a good model for this kind of writing) behind clarinet solo, duets (clarinet and bass) and trios (clarinet, vn1, bass (see the occasional cl/string doublings in the opening measures). There are short senza basso trios of vn1, vn2, vla. My favorite part is the (twice-told) very Bach-like suspension chain against the 32d-note runs (in vn1 and clarinet, second time inverted).

I have taken great care to implement Mozart's phrasings with hidden portati. I was forced to write out some of the turn ornaments in smal notes. Although MuseScore can't perform the (few) hairpin dynamics properly, I nonetheless retained them for score value. One can learn a great deal about phrasing (vis-à-vis other repertoire) by studying Mozart's slur-marks.

If you can read soprano clef, imagine the same on the A-Clarinet part and you will see the "concert pitch" notes (or download it and click "concert pitch").

I met K. 581 on a commercial casette tape used as a demo left in a wonderful casette player/recorder I purchased maybe 40 years ago at the long-gone Waltham (MA) Camera and Stereo.

This is "as good as it gets."

3 Kings per canonem (di BSG 2018) (re-recorded on Hauptwerk/Sonus Doesburg)

2 parts3 pages00:547 months ago180 views
We three kings of orient are
Tried to smoke a rubber cigar
It was loaded, it exploded
Now we two kings are.

A triregal Orgelbüchlein-style canonic prelude depicting that gravity and tumult.

Default audio recorded via Hauptwerk on the Sonus Paradisi imaging of the Walcker organ at Doesburg.

"Cigar? Toss it in a can! It is SO tragic!" –the Palindromist

Trio 10/16/2018 (di BSG 2018) for Organ - Hauptwerk/Sonus (Doesburg)

3 parts3 pages02:337 months ago121 views
Flute, Oboe, Cello
Hauptwerk rendition of on Sonus Paradisi image of the Walcker organ at Doesburg, the Netherlands. It is eminently playable by hands and feet (this is a MIDI-driven performance, though).

RouteStaves: II, I, Pedal
I: Gr.-Prinzipal 8, , Praestant 4, Rohr-Flöte 4, Oktave 2
II: Syntemat. 8, Orch. Flöte 4, Nazard, Orchester Oboe 8
Pedal: Prinzipalbass 16, Oktavbass 8, Violon-Cello 8

J.S. Bach: BWV 232 (B Minor Mass) - Crucifixus (figured)

6 parts6 pages03:117 months ago357 views
Flute, Violin, Voice(2), Cello, Contrabass
Posting this for the annotated harmony, in meticulous "closed score". There is nothing to say about this tour-de-force of gut-wrenching, agonized harmony, the last word in the classic "lamento bass". While this is based upon the opening chorus of the Cantata BWV 12, "Weinen, Klagen, Sorgen, Zagen", Bach has upped the harmonic and dramatic ante considerably for the B Minor Mass.